Preampssssssssss

Vinny

Member
Jun 4, 2009
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New Braunfels, Texas
Hey guys, I'm looking to expand the inputs on my ProFire 2626. So what would you suggest would be the best one in a mid-price range just for the sole purpose of expanding? This is mainly for drum recordings. I would like to have the drum heads going through my profire; and the overheads, spot cymbal mics, room mics, reference guitar, and talkback etc. going through the external pre.

I've been looking at the Octane Pre from M-Audio, since I figured that the same preamps would equal approximately the same sound as my Profire...

Is there a better and preferrably cheaper alternative? Or am I just crazy?

Also someone suggested me the Behringer ADA8000. How does it sound?

Thanks sooooo much guys.
 
ADA8000 is one of the few things that they do bettter. Not great, but I think I can remember some blind tests against a Lynx and it won. (If I remember well).
 
^That was a converter test, they seem to be okay on the ADA8000. The preamps are said to be horseshit, though.
You could use it for dirt mics or triggers but I would spend the few bucks more on the Focusrite Octopre
 
I made a shootout a while ago between the 2626 and the ADA8000 as I own both. I don't think I'd recommend the ADA8000 for anything bassy, since that's where all of the mud seems to go on the ada8000, so to get rid of that mud you'd effectively be removing your low end from the source. I'd maybe use it on more high frequency based stuff but overall im pretty weary of using it all together :lol:


 
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Well as I said, the 2626 would my main go-to.
I just need more inputs for drum recording. As I said, I'd pretty much only be using the 8000 for drum overheads and room mics etc... And the overheads would probably get a good high pass on it too, so it wouldn't really be concerned with much low-end stuff.
 
Well as I said, the 2626 would my main go-to.
I just need more inputs for drum recording. As I said, I'd pretty much only be using the 8000 for drum overheads and room mics etc... And the overheads would probably get a good high pass on it too, so it wouldn't really be concerned with much low-end stuff.

You should use your best preamps for the audio that can't be replaced.
In other words, use your good preamps for the cymbals and room mics.
 
You should use your best preamps for the audio that can't be replaced.
In other words, use your good preamps for the cymbals and room mics.
+1
So you're saying to just ditch both and with the OctoPre?
Which one? The Standard one or the Dynamic one? Do you have any audio tests with it?
Heard a lot of good things about the Octane Preamp, I just didn't mention it because I never saw one new/used around here, hehe.
The Focusrite Octopre Dynamic seems like a waste of money to me, there's no way the compressors are better than good software and if you're not doing a lot of live engineering, you won't really need the dynamic section. Do a little research in the shootout section of Gearslutz, I'm pretty sure there were comparisons that included the Focusrite Octopre and the Behringer, too.
I can highly recommend the RME Octamic but that's "a bit" more expensive (you might want to look for a used one, though).
 
I made a shootout a while ago between the 2626 and the ADA8000 as I own both. I don't think I'd recommend the ADA8000 for anything bassy, since that's where all of the mud seems to go on the ada8000, so to get rid of that mud you'd effectively be removing your low end from the source. I'd maybe use it on more high frequency based stuff but overall im pretty weary of using it all together :lol:


http://www.youtube.com/watch?v=OIFrEiuVjyo



Good video! I was planning to buy one just so I can have extra tracks, like spot mic'd cymbals. Since most mixes require everything under 400 to be cut out anyways, there shouldn't be any problems. Thanks for the shootout.
 
I would say that if you can find one used for cheap, grab a PreSonus Digimax FS. I got mine for $300 used.

How does the LT compare? I have a guy that owns a local studio selling his LT for about $350, but I think I might be able to snag it for $300.

Also, I may be interested in just buying another freaking profire, since they are $560 at Sam Ash right now for new...
 
I ask myself what would happen to an ADA8000 if those tl072 opamps they have in it (the same used on the ss marshall fx loop) for opa3124 or other hi quality opamp. On my TS clone it made the sound way cleaner and defined, so i suspect this would be good on the Behringer too, as it is horseshit as it is.
 
M Audio Octane
M Audio Profire 2626
Focusrite Octopre
Presonus Digimax/LT etc
Mackie Onyx 800R

^Any of these should be fine. Look out for extra features like switchable impedance, high pass filters, DI inputs, phase flip and pads (very important if your overhead mic's dont have pads on them) and decide what's best for you.

Avoid the Behringer. The converters are ok but the preamps are pretty garbage, very noisy. Only really good for triggers and scratch tracks that will be dumped later anyway.
 
The first generation focusrite octopres is one of the bast low-budget preamps out there. Its a shame that focusrite didnt make them anymore.
The mackie onyx are good to but way way to overpriced!!!! I mean you can get 2 channels of audient for the price of 8 channels of mackie.
And audient vs. mackie is like sunshine vs. rain
 
^That was a converter test, they seem to be okay on the ADA8000. The preamps are said to be horseshit, though.
You could use it for dirt mics or triggers but I would spend the few bucks more on the Focusrite Octopre

Yep, you're right. Not great for pre's expansion. My bad.

Many people use it with good results, though.
 
According to the (unverified) schematic I found, the ADA8000 line inputs get padded down and then brought up again by the micpres.

So if the mic pre sucks, the line in should do as well.

(I'm also trying to figure out a sane reason for how they've done the analogue output stages. Any ideas from the tech-heads around here?)
 
According to the (unverified) schematic I found, the ADA8000 line inputs get padded down and then brought up again by the micpres.

So if the mic pre sucks, the line in should do as well.

(I'm also trying to figure out a sane reason for how they've done the analogue output stages. Any ideas from the tech-heads around here?)

Wow, I would have thought ad/da conversion and all that would be a lot more confusing.

What do you want to know about the output on it? Looks pretty standard, the opamps get the signal up and give the 2 phases needed for the balanced output.

I wonder if using say, an OPA4132 would make the whole unit sound better. In my experience with opamps, the OPA's allowed more high end and low end through. They draw a little more current than the TL chips, but sound way better in applications where you aren't trying to clip them. Hell someone should try it, would be a cheap upgrade. Although knowing behringer they probably use surface mount chips instead of using a socket so it may be tough to do.